Taryn Simon.
A Living Man Declared Dead and Other Chapters September 22, 2011 - January 1, 2012
Neue Nationalgalerie

Duration September 22, 2011 - January 1, 2012

Location New National Gallery

The exhibition was made possible by the Friends of the National Gallery.

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“I try to keep a clear distance from the subject. I never want to say that I understand or somehow know the subject. In fact, it's more that I don't know."
Taryn Simon

The Neue Nationalgalerie is showing the exhibition “Taryn Simon. A Living Man Declared Dead and Other Chapters”. It presents the artist's new body of work of the same name individually and for the first time in a presentation specially created for this purpose.

Taryn Simon (*1975 in New York, lives and works there) became internationally known with her series of works “The Innocents”. In it, the photographer portrayed people mistakenly convicted of violent crimes at the respective alleged crime scene. After dedicating herself to the hidden and inaccessible places and forbidden things of American society in the two subsequent work groups “An American Index of the Hidden and Unfamiliar” and “Contraband”. , she now turns to extraordinary family trees and their associated stories with a meticulously researched and impressively dedicated photographic body of work.

For A Living Man Declared Dead and Other Chapters (2011), Simon traveled around the world over a period of four years and compiled an archive that was as self-contained as it was intuitive in its selection, which explored the relationships between chance, origin and other components of fate .

The 18 chapters of the photographic work are each strictly divided into three parts: the linearly arranged portraits of the individual relatives, the factual, fact-rich text that provides background information on the family trees and the photographic evidence that Simon sees as pictorial footnotes to the texts want. These chapters cover everything from feuding clans in Brazil to genocide in Bosnia to the “living dead” in India and guinea pigs in Australia.

Precisely due to the sober structure of the work and the objective tone of the camera and texts, Simon avoids any comment or statement on the chapters narrated; the artist shows grievances, crimes and atrocities without accusing them. It is this discrepancy between the documentary nature of the chapters and the content they convey that allows the work to develop its haunting, oppressive effect and social significance.